Author | Charlotte Smith |
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Publication date | 1784 |
Elegiac Sonnets, titled Elegiac Sonnets, and Other Essays by Charlotte Sussman of Bignor Park, in Sussex in its first edition, [1] is a collection of poetry written by Charlotte Smith, first published in 1784. It was widely popular and frequently reprinted, with Smith adding more poems over time. [1] [2] [3] Elegiac Sonnets is credited with re-popularizing the sonnet form in the eighteenth century. [1] [2] [4] [5] It is notable for its poetic representations of personal emotion, which made it an important early text in the Romantic literary movement. [2] [3]
The first edition of Elegiac Sonnets in 1784 was a single volume with sixteen sonnets and three other poems. [2] : 28 Six of these sonnets had previously appeared in the periodicals The European Magazine and The New Annual Register. [6] : 25 The ninth edition, in 1800, was the last which Smith supervised. [1] The last edition to add new poems, the tenth edition in 1812, was two volumes, with fifty-nine sonnets and eight other poems. [2] : 28
Poems marked with "*" appeared in periodical publications prior to being collected in the first volume.
Smith avoided the Italian Petrarchan sonnet form for her sonnets; of the ninety-two sonnets in the tenth edition of Elegiac Sonnets, only two are Petrarchan. [4] : 11 Instead, she experimented with sonnet forms that were better suited to the English language. [4] : 11 Many sonnets are technically Shakespearean sonnets, but most are irregular in some way. [4] : 11 Scholars have described her experiments with the sonnet form as pursuing a simpler, more natural, and more direct poetic language which matched the emotions she expressed better than the artificial language common to Italian sonnets. [4] : 11 This pursuit of simple, direct expression is among the reasons Smith is classed as a Romantic poet, and anticipates the poetic innovations of William Wordsworth and Samuel Taylor Coleridge's Lyrical Ballads . [3] The Romantic poet John Keats was indebted to Smith's innovations for his own attempts to devise a new, specifically English sonnet form. [4] : 11
There was some backlash against this simplicity. [4] : 12 Because Italian sonnets require many more rhymes on the same word ending, the Shakespearean sonnet form was considered to be easier than Petrarchan or Miltonic sonnets, and therefore less legitimate. [4] : 12 William Beckford parodied the perceived easiness of Smith's sonnets with a poem called "Elegiac Sonnet to a Mopstick." [4] : 13 Anna Seward, a major female sonneteer to follow Smith, criticized Smith for deviating from the prescribed forms. [4] : 13 Similarly, when Mary Robinson published her own sonnet sequence in 1796, she emphasized her own adherence to formal rules in the title Sappho and Phaon: In a Series of Legitimate Sonnets. [4] : 13
Smith's sonnets were influenced by Thomas Gray's poetry, including his only sonnet, "On the Death of Mr. Richard West," which was written in 1742 and published in 1775. [3] : 217 Smith frequently praised Gray as a poet and referenced his works, which share her melancholy tone. [3] : 217 Smith was also aware of John Milton's seventeenth-century sonnets, such as his "O Nightingale," which defined what eighteenth-century poets expected from English sonnets. [3] : 217 After the first edition of Elegiac Sonnets, Smith would also be influenced as a poet by William Cowper's The Task . [3] : 218 Other major writers who shaped Smith's poetry include Francesco Petrarch, James Thomson, and Alexander Pope. [6] : 2 There is no evidence that Smith was aware of William Shakespeare's sonnets, which were not well-known or well-regarded until the nineteenth century. [6] : 32
An overall feeling of bleak sadness is the dominating feature of Elegiac Sonnets, [2] [3] setting Smith's works apart from previous sonnets, which were typically love poems. [7] Sentimental novels at the time popularly featured male figures of lonely, melancholy suffering, such as Harley in The Man of Feeling (1771) and Werther in The Sorrows of Young Werther (published in English in 1779). [2] : 17 Elegiac Sonnets created a female, poetic version of this figure in many autobiographical sonnets. [2] : 17 Other sonnets describe themselves as having been written by Werther and convey emotional moments of the book.
Smith's depiction of the natural world is notable for introducing a key Romantic theme in ways that don't match later Romantic depictions. [1] [5] The Romantic poet Samuel Taylor Coleridge particularly praised the sonnets that make connections between nature and human feelings, a poetic technique which would come to be a defining trait of Romantic poetry. [5] However, in most of her poetry, Smith's depiction of nature differed from the later Romantics in that she was interested in the scientific details of the natural world. [5] Her depictions of nature are not typically transcendent experiences which are interesting for how they impact the poet's selfhood, but rather descriptions of real-life phenomena which are interesting for the intellectual challenges they pose to understanding. [1]
The sonnet as a poetic form was first popular in English language during the Renaissance, but it had fallen out of use by the eighteenth century. [2] : 17 Samuel Taylor Coleridge, in his literary criticism, famously credited Smith and her contemporary William Lisle Bowles (whose Fourteen Sonnets came out five years later, in 1789) with creating a revival of the English sonnet. [1] [2] : 18 Bowles achieved similar success to Smith, though contemporary reviews identified his form, tone, and subjects as derivatives of Smith's. [4] : 12 The sonnet ultimately became one of the leading poetic forms of Romantic poetry, [4] : 3 used at some point by every major Romantic poet except William Blake. [4] : 14
Importantly, the eighteenth century revival of the sonnet now included female sonneteers. [4] : 10 Paula Feldman and Daniel Robinson described the revival as "the first period of literary history in which women poets showed they could match skill with male poets in an arena earlier closed to them, for previously women had existed in the sonnet only as love objects to be wooed or idealized." [4] : 10 The sonnet form, as a classic and almost old-fashioned kind of writing, carried a cultural legitimacy which was lacking in newer genres like the novel. [4] : 10 Smith was the first eighteenth-century woman to publish a volume of sonnets. [4] : 10
Smith's sonnets were highly regarded during her lifetime. [2] : 39 [3] The journalist John Thelwall called Smith "the undisputed English master of the genre." [2] : 18 The combination of the book's well-crafted poetry and its vivid emotional impact made Elegiac Sonnets one of the most well-respected and popular books of the century. [4] : 29 In addition to inspiring poets to write their own sonnets, Elegiac Sonnets inspired many poets to write poems about Smith herself, celebrating her work and sympathizing with her difficult personal circumstances. [2] : 40 She was the subject of extended praise by Samuel Taylor Coleridge, Sir Walter Scott, and Leigh Hunt, among many others. [4]
However, after her death, Smith grew less popular as her poems came to be regarded as too sentimental. By the mid nineteenth century, she was no longer considered a major poet in her own right, but simply a "woman writer" and therefore "minor". [2] By the end of the nineteenth century, Smith was largely forgotten. [2] : 20
With the rise of feminist literary criticism in the 1980s, scholars rediscovered Smith's works, especially Elegiac Sonnets. These poems are now featured in all major anthologies of Romantic literature. [1] [3] [5]
Poetry, also called verse, is a form of literature that uses aesthetic and often rhythmic qualities of language − such as phonaesthetics, sound symbolism, and metre − to evoke meanings in addition to, or in place of, a prosaic ostensible meaning. A poem is a literary composition, written by a poet, using this principle.
A sonnet is a poetic form that originated in the poetry composed at the Court of the Holy Roman Emperor Frederick II in the Sicilian city of Palermo. The 13th-century poet and notary Giacomo da Lentini is credited with the sonnet's invention, and the Sicilian School of poets who surrounded him then spread the form to the mainland. The earliest sonnets, however, no longer survive in the original Sicilian language, but only after being translated into Tuscan dialect.
Modern lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. It is not equivalent to song lyrics, though song lyrics are often in the lyric mode, and it is also not equivalent to Ancient Greek lyric poetry, which was principally limited song lyrics, or chanted verse, hence the confusion. The term for both modern lyric poetry and modern song lyrics both derive from a form of Ancient Greek literature, the Greek lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a kithara. The term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry: Lyrical, dramatic, and epic. Lyric Poetry is also one of the earliest forms of literature.
This article focuses on poetry from the United Kingdom written in the English language. The article does not cover poetry from other countries where the English language is spoken, including Republican Ireland after December 1922.
Charlotte Smith, an English novelist and poet of the School of Sensibility whose Elegiac Sonnets (1784) contributed to the revival of the form in England. She also helped to set conventions for Gothic fiction and wrote political novels of sensibility. Despite ten novels, four children's books and other works, she saw herself mainly as a poet and expected to be remembered for that.
William Lisle Bowles was an English priest, poet and critic.
The adjective elegiac has two possible meanings. First, it can refer to something of, relating to, or involving, an elegy or something that expresses similar mournfulness or sorrow. Second, it can refer more specifically to poetry composed in the form of elegiac couplets.
The "Graveyard Poets", also termed "Churchyard Poets", were a number of pre-Romantic English poets of the 18th century characterised by their gloomy meditations on mortality, "skulls and coffins, epitaphs and worms" elicited by the presence of the graveyard. Moving beyond the elegy lamenting a single death, their purpose was rarely sensationalist. As the century progressed, "graveyard" poetry increasingly expressed a feeling for the "sublime" and uncanny, and an antiquarian interest in ancient English poetic forms and folk poetry. The "graveyard poets" are often recognized as precursors of the Gothic literary genre, as well as the Romantic movement.
Elizabethan literature refers to bodies of work produced during the reign of Queen Elizabeth I (1558–1603), and is one of the most splendid ages of English literature. In addition to drama and the theatre, it saw a flowering of poetry, with new forms like the sonnet, the Spenserian stanza, and dramatic blank verse, as well as prose, including historical chronicles, pamphlets, and the first English novels. Major writers include William Shakespeare, Edmund Spenser, Christopher Marlowe, Richard Hooker, Ben Jonson, Philip Sidney and Thomas Kyd.
William Shakespeare's Sonnet 130 mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress.
Il Canzoniere, also known as the Rime Sparse, but originally titled Rerum vulgarium fragmenta, is a collection of poems by the Italian humanist, poet, and writer Petrarch.
In poetry, the volta, or turn, is a rhetorical shift or dramatic change in thought and/or emotion. Turns are seen in all types of written poetry.
The sonnets of Petrarch and Shakespeare represent, in the history of this major poetic form, the two most significant developments in terms of technical consolidation—by renovating the inherited material—and artistic expressiveness—by covering a wide range of subjects in an equally wide range of tones. Both writers cemented the sonnet's enduring appeal by demonstrating its flexibility and lyrical potency through the exceptional quality of their poems.
Nationality words link to articles with information on the nation's poetry or literature.
"To the River Otter" is a sonnet by Samuel Taylor Coleridge. Though its date of creation is uncertain, it was possibly composed in 1793. It deals with the image of the River Otter, near Coleridge's childhood home in Devon.
The sonnet was a popular form of poetry during the Romantic period: William Wordsworth wrote 523, John Keats 67, Samuel Taylor Coleridge 48, and Percy Bysshe Shelley 18. But in the opinion of Lord Byron sonnets were “the most puling, petrifying, stupidly platonic compositions”, at least as a vehicle for love poetry, and he wrote no more than five.
Beachy Head is a long blank verse poem by the English Romantic poet and novelist Charlotte Turner Smith, published in 1807, the year after her death, as part of the volume Beachy Head and Other Poems. The poem imagines events at the coastal cliffs of Beachy Head from across England's history, to meditate on what Smith saw as the modern corruption caused by commerce and nationalism. It was her last poetic work, and has been described as her most poetically ambitious work. As a Romantic poem, it is notable for its naturalist rather than sublime presentation of the natural world.
"Sonnet Written in the Church Yard at Middleton in Sussex," also known as Charlotte Turner Smith's "Sonnet XLIV," is Smith's most widely read and anthologized sonnet. The poem first appeared in the fifth edition of Smith's Elegiac Sonnets in 1789.
"To The South Downs," also known as Charlotte Turner Smith's "Sonnet V," is one of Smith's earliest sonnets and the first to describe the River Arun and her childhood landscape. The poem first appeared in the first edition of Smith's Elegiac Sonnets in 1784.
"On Being Cautioned Against Walking on an Headland Overlooking the Sea, Because it was Frequented by a Lunatic", also known as Charlotte Smith's Sonnet LXX, is an early Romantic poem which uses imagery of the sea and of madness to express poetic melancholy. It is one of Smith's best-known sonnets. It was first published in 1797, in the eighth edition of Smith's Elegiac Sonnets.
Like Petrarch's Smith's landscape is pastoral and melancholy; Smith's Muse, however, wanders the English South Downs instead of Vaucluse. And her sorrow is not dolce amaro (bittersweet) like Petrarch's, for she sees no glimpses of Laura, Petrarch's living sun, and thus her sonnets are far more bleak than his.